Across a long career writing music for some of Hollywoods most celebrated films, Jerry Goldsmith’s mark can be heard in a huge range of genre’s from The Omen, to LA Confidential, from Patton to Planet of the Apes. But even when it comes to his science fiction scores including Alien and Total Recall, none have left as iconic a mark as his contributions to Star Trek.
During the reinvention of Star Trek for cinema, director Robert Wise knew the challenge. Turn a small sci fi show into a cinematic epic. The success of that has often came up for debate, but no matter the opinion on the Motion Picture, the one celebrated element was the music Goldsmith delivered and the new template he build for the sound of Star Trek.
Blending classic orchestra with electronic synthesizers and complex rhythmic patterns, Goldsmith’s score elevated every aspect of the film, from the simplistic mystery and wonder of the V’Ger themes, to adding a theme for the Klingon’s that would carry on through the entire series. His music offered an emotional depth that perfectly complimented the ambitious visuals and more serious tones of the Enterprise’s new adventures. Though for all the new music added, one piece in particular would become a thing of legend in it’s own right.
Continuing for Generations: WDR Funkhausorchester Arrangement from 2024.
Opening with an overture before the credits, which had become a rarity following the golden age of cinema – and only featured in a dozen Hollywood films since – Goldsmith sets the tone of the film with a slow, wondrous melody before the credits begin with a triumphant brass composition that instantly leaves an impression. So much of an impression that the score was tweaked slightly and re-used a decade later to become the title theme of the Next Generation and remains one of the most sophisticated and complex science fiction scores ever composed.
Its soaring melody immediately conveys optimism, exploration, and limitless possibility. Rich orchestral textures, majestic brass fanfares, shimmering electronic sounds, and memorable themes gave the film, and in turn The Next Generation, an emotional depth that perfectly complemented Star Trek’s optimistic wonder.
Known ad heralded for pushing musical boundaries, Goldsmith would return for The Final Frontier and score three of the four Next Generation films including the slower and more melodic score for First Contact where his title theme would again be re-utilised as the end credits for Picard’s third season.
Scoring more than 170 productions in his career, Star Trek was just a small part of his contributions to film. Having gained his start studying music and working in television in the 1950’s, Goldsmith would gain multiple Academy Award nominations, including taking home the award for his work in The Omen in 1976, would win five Emmy Awards be nominated for the Golden Globes countless times.
Goldsmith passed away aged 74 in July 2004 with his final works being completed the previous year including Timelines and Looney Tunes Back In Action. Though thanks to his incredible contribution to film, his work lives on to this day from his legendary back catalogue to the Universal Studio’s theme you’ll have heard countless times.
Goldsmith’s music gave emotional weight to stories that continue to captivate generations of fans from Star Trek and beyond.
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